'''Idiomelon''' ([[w:Greek language|Greek]]: ''idio'', "unique" + ''melon'', "melody"; [[Church Slavonic]]: ''samoglasen'')—pl. ''idiomela''—is a [[sticheron]] which originally had it's own tune, and did not follow that of any other.<ref>Fr. Laurence (Campbell), ed., ''The Unabbreviated Horologion or Book of the Hours'', 2nd Ed. (Brick, NJ:Yes Press, 1995), p 328.</ref>

'''Idiomelon''' ([[w:Greek language|Greek]]: ''idio'', "unique" + ''melon'', "melody"; [[Church Slavonic]]: ''samoglasen'')—pl. ''idiomela''—is a [[sticheron]] which originally had it's own tune, and did not follow that of any other.<ref>Fr. Laurence (Campbell), ed., ''The Unabbreviated Horologion or Book of the Hours'', 2nd Ed. (Brick, NJ:Yes Press, 1995), p 328.</ref>

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An idiomelon is is assigned to one of the [[w:eight tones|eight tones]] of [[Byzantine chant]], is not patterned on any other hymn in terms of [[w:Meter (hymn)|meter]], content, or melody, and do not serve as models or patterns for other hymns of the same textual category. These include, for example, stichera of the Resurrection, stichera of Great Feasts, etc It melodically follows the schema of the tone and yet is usually eccentric in its metre.

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An idiomelon is assigned to one of the [[w:eight tones|eight tones]] of [[Byzantine chant]], is not patterned on any other [[hymn]] in terms of [[w:Meter (hymn)|meter]], content, or melody, and does not serve as a model or pattern for other hymns of the same textual category. These include, for example, stichera of the Resurrection, stichera of Great Feasts, etc. It melodically follows the schema of the tone and yet is usually eccentric in its metre.

==Notes==

==Notes==

Revision as of 08:36, May 3, 2011

Idiomelon (Greek: idio, "unique" + melon, "melody"; Church Slavonic: samoglasen)—pl. idiomela—is a sticheron which originally had it's own tune, and did not follow that of any other.[1]
An idiomelon is assigned to one of the eight tones of Byzantine chant, is not patterned on any other hymn in terms of meter, content, or melody, and does not serve as a model or pattern for other hymns of the same textual category. These include, for example, stichera of the Resurrection, stichera of Great Feasts, etc. It melodically follows the schema of the tone and yet is usually eccentric in its metre.